Moravian Soundscapes. Sarah Justina Eyerly
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I would like to thank Janet Rice for sharing her work and that of her collaborators in mapping the archaeological sites for Native communities in Pennsylvania. Barry C. Kent, Janet Rice, and Kakuko Ota, “A Map of 18th Century Indian Towns in Pennsylvania,” Pennsylvania Archaeologist 51, no. 4 (1981): 1–18.
61. DeLucia, Memory Lands, xxv; Lisa Brooks, Our Beloved Kin: A New History of King Philip’s War, Henry Roe Cloud Series on American Indians and Modernity (New Haven: Yale University Press, 2018), 13. Recent mapping projects by Lisa Brooks and Christina DeLucia of the indigenous geographies of New England have encouraged me to consider the wonderful benefits of “research road trips” and “place-visits.” I have also been encouraged in my efforts to create sound maps of Moravian places by DeLucia’s call to enliven historic places with alternate modes of seeing, touching, traveling, and mapping. She encourages historians of early American history to consider new ways of writing and mapping that reflect different stories than the ones traditionally told in settler colonial contexts. DeLucia, Memory Lands, 21, 330.
62. I wish to thank Philip Trabel and Charlene Donchez-Mowers and the staff of the Historic Bethlehem Partnership and Burnside Plantation, for their assistance with this project.
63. For the purpose of this project, we were interested in general information about the spread of sound to elucidate how Moravians may have heard and understood their community. Thus, sound recordings were assigned a general weight in the calculations with an assumed range of human hearing set at 0 dB with a lower threshold at –9 dB. It is our hope that additional studies may take into account deeper and more nuanced views of the spread of sound in Bethlehem.
64. There are a growing number of artists and researchers using GIS technologies to inscribe meaning onto space through sound. Some important examples include the soundwalks created by Hildegard Westerkamp and Frauke Behrendt; the “Under Living Skies” project by Eric Powell that recreates the soundscapes of Saskatchewan, Canada; Isobel Anderson and Fionnuala Fagan’s collaborative project entitled, “Stories Of The City: Sailortown,” which explores the soundscapes of the old docks area of Belfast, Ireland; Janet Cardiff’s soundwalks, such as “Her Long Black Hair” and “A Large Slow River,” that combine recorded voice with composed soundscapes in order to map a narrative onto a specific sound journey; and Jennifer Heuson’s “Soundscapes of The Black Hills,” which records various locations in the Black Hills of South Dakota.
65. There are not many researchers or composers experimenting with sound in time even though acoustic ecology is a growing field. In the field of archaeoacoustics, Miriam Kolar’s project on the acoustic architecture of Chavín de Huántar, Perú, uses computer modeling to understand how this 3,000-year-old ceremonial center in the Incan Andes may have been acoustically designed. Miriam A. Kolar, “Sensing Sonically at Andean Formative Chavín de Huántar, Perú,” Time and Mind 10, no. 1 (January 2, 2017): 39–59. In terms of soundscape compositions based upon historic sound recreation, Maile Colbert’s sound projects, Passageira em Casa and Passageira australis, explore various sounds or locations in Portugal and Australia as heard and experienced through time. Several university-based research groups have published websites dedicated to sounding historical places, including the University of Cambridge’s “Seventeenth-Century Parisian Soundscapes Project,” and the “Sound of Paris in the Eighteenth Century” project at the University of Lyon. Some cities and cultural regions have also funded similar projects, including the “Vancouver Soundscape Project,” and the “Paisajes sonoros históricos de Andalucía (c. 1200–c. 1800) [Historic soundscapes of Andalucía project (c. 1200–c. 1800)].”
66. Barry Truax, “Sound, Listening and Place: The Aesthetic Dilemma,” Organised Sound 17, no. 3 (December 2012): 193, 196–197.
67. Barry Truax, “Genres and Techniques of Soundscape Composition as Developed at Simon Fraser University,” Organised Sound 7, no. 1 (April 2002): 12. Soundscape compositions are a style of composition pioneered at Simon Fraser University by the World Soundscape Project. Some early examples include The Vancouver Soundscape (1973), and Soundscape Vancouver (1996). Hildegard Westerkamp defines soundscape composition as electronic compositions that are created with recorded environmental sounds (Westerkamp, “Linking Soundscape Composition and Acoustic Ecology,” Organised Sound 7, no. 1 (April 2002): 51). Soundscape compositions might explore structures and perspectives that mirror real-world experiences, such as listening from a fixed spatial perspective or moving through a connected series of acoustic spaces. They are also meant to convey a sense of real sound environments. In this sense, they are similar to the soundtracks of wildlife films, which are typically a combination of sounds recorded in the wild during the filming or previously, as well as sounds that must be recreated in a studio. These soundtracks are meant to provide insight into animal behavior, and to create a sense of a wild place, as well as to heighten the emotion and drama of the film. As a result, wildlife filmmakers often turn to sound designers to recreate something that simulates the sounds of wild places—a soundtrack that is in its essence true to nature, yet recreated from sound samples that may not have been recorded along with the film itself. This is similar to the comprehension of visual materials advocated for by photographer Dorothea Lange. For Lange, the camera was to be a tool to learn to see without a camera. In this way, recordings can also be envisioned as tools to hear places we have not experienced or cannot experience without the aid of recordings. See Bernard Krause, The Great Animal Orchestra: Finding the Origins of Music in the World’s Wild Places (Boston: Back Bay Books Little Brown, 2013), 16.
68. Barry Truax makes a distinction between compositions based upon “sound effects libraries” and “soundscape documentation projects” (Truax, “Paradigm Shifts and Electroacoustic Music,” 109). The soundscape compositions in Moravian Soundscapes are not documentation projects, but historically informed recreations.
69. See Isobel Anderson, “Soundmapping Beyond The Grid: Alternative Cartographies of Sound,” Journal of Sonic Studies 11 (January 14, 2016); and S. Caquard, G. Brauen, B. Wright, and P. Jasen, “Designing Sound in Cybercartography: From Structured Cinematic Narratives to Unpredictable Sound/Image Interactions,” International Journal of Geographical Information Science 22, nos. 11–12 (2008): 1220.
70. See Elisabeth Le Guin, Boccherini’s Body: An Essay in Carnal Musicology (Berkeley, CA: University of California Press, 2006).
71. Seth S. Horowitz, The Universal Sense: How Hearing Shapes the Mind (New York: Bloomsbury, 2013), 32.
72. Mark M. Smith, Mitchell Snay, and Bruce R. Smith, “Coda: Talking Sound History,” in Hearing History: A Reader, ed. Mark M. Smith (Athens: University of Georgia Press, 2004), 365–366. Also see Truax, Handbook for Acoustic Ecology, 126.
73. Womack, “Theorizing American Indian Experience,” 372–374.
74. See Brooks, Our Beloved Kin, 124.
ON A FALL AFTERNOON IN 1989, PAST THE season of rattlesnakes, I hiked into the forest near my home to a mining community that had flourished and vanished in the early twentieth century. Peale, Pennsylvania, was once home to a bituminous tunnel mine and several thousand people. It was a hub of activity and commerce, resounding day and night with voices, the groans and creaks of mine machinery, and the keynote sounds of shops, homes, and businesses. Now it lingered in the local imagination as a sketchy, silent “ghost town” lost in the woods. Few people knew how to find it. Its buildings, roads, and railroad tracks had long been subsumed under the plants and trees that quickly reclaimed the landscape. Its human soundscapes were replaced with those of the forest: birds, rustling leaves, white-tailed deer, and chipmunks. But if you knew where to look, you could still see the town’s graveyard, and the muted remnants of cherished hymn and Bible verses scrawled on tombstones.
I had been told that to locate Peale I should walk along the banks of the Moshannon Creek to where it joined a smaller run coming out of the hillside near the town of Grassflat. Like the verses that lingered on tombstones, the name